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Full text of "Pennsylvania Museum Bulletin. Number 52, October 1915"

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('.Trt^fiirl, ;\..i»u^. ?7. iOCi3 

a:* PhiUdfllijMfc TtL. fts Sftcaod-Claw Mttl«r« tmd«r Act of Congrtw of JtUy W, 1894 



Soiir& otZt\xette» 

The GovEUNoa of the State, Bx-Of. The Mayoe of the City, Bs-Qf, 

Mrs. Rudolph Blankenbukg H. Harding John W. Pepper 

Charles Bond Thomas SkeltOn Harbison Theodore C. Search 

James Butterworth John Story Jenks Edgar V. Seeler 

John G. Carruth John H. McPadden Mrs. Joseph F. Sinkoti 

Harrington Fitzgerald John D. McIlhenny Edward T. Stotesbuht 

Mrs. Henry S. Grove Mrs. Arthur V. MsiGS Jambs F. Sullivan 

John Gribbel •John T. Morris Wiluam Wood 


- ' > Vice-Presidents 






LESLIE W. MILLER, Principal of the School 



for October, nineteen littn^re^ and fifteen 


Gothic Chest Fronts (The McIlhenny Collection). By Mrs. Cornelius 

Stevenson 51 

The Coming Tapestry Exhibition 55 

Recent Accessions. By Edwin A. Barber . . . . . , .57 

Notes 62 

List of Accessions 65 

General Information 66 








Mr. John D. Mcllhenny has recently secured a series of two chests and 
nine carved fronts of old Gothic French and possibly English chests, ranging 
from the early sixteenth or late fifteenth to the seventeenth centuries. These 
are now on exhibition at the Museiom. Three of the fronts bear dates respec- 
tively 1631, 1650, 1657. Four are considerably older and belong to the six- 
teenth century. The one shown in the first illustration cannot well be later 
than the beginning of the sixteenth century and may go back to the end of the 
fifteenth. The panels are of true linen-fold design, with fenestral Gothic 
decoration of great beauty and delicacy. Its general condition also would 
suggest a much earlier date than any in the collection. 

The next in point of age probably is that represented in No. 2. This also 
shows true linen-fold paneling. In the center runs a carved piece with female 
and crowned male figures. 

Three pieces are plainly Elizabethan in period, as shown by the elaborate 
ribbon or interlaced strap and rosette design, although the style also appears 
in France. Number 3 is a fine example of the style prevailing in the second 
half of the sixteenth century. Figiires of a vmicom and of a boar occupy the 
two upper panels. Another of this group is more elaborately carved with 
all-over finely wrought design of closely interlaced strap and rosette work. 
In the third "piece of the group, the same or similar design is carved on five 
broad bands divided by narrower plain spaces. A fine entire chest of this 
period, the front of which is richly carved in the same style, serves to illustrate 
the nature of the exhibit. Another, similar in design but of obxdously later 
date, also is interesting as showing the early introduction of the Renaissance 
cherub — as well as the use of the carved moulding as a frame to the panels. 

The other four fronts are of the seventeenth century. Three of them are 
dated, a fact which removes the possibility of a doubt, but even were this not 
so the style of their decoration must prove them to be of much later date than 
those described above. For instance, while they affect to reproduce the linen- 
fold pattern, inspection at close range shows the paneling to be a groove and 



Gothic Chest 
Early Sixteenth or Late Fifteenth Century, France 

Linen Fold Design 
Sixteenth Century, France 


reed design, which more or less simulates the original linen-fold idea of earlier 
times. These grooved and reeded panels are adorned in the center with bands 
of guilloche or rope pattern, as in No. 4, the date of which is 1631. In another, 
the date of which is 1650, the center of the chest is a band with rosette and 
broad interlaced strap-work. In a third, the central band is of carved work 
that recalls window carvings of Gothic stone-work; while the fourth shows a 
■central band of interlaced and elaborate strap-work, besides intersecting bands 
of guilloche work separating the grooved and reed paneling. 

The linen-fold patterns were largely used toward the end of the ' ' perpen- 
dicular" st5de, which was characteristic of English domestic architecture in 
the fifteenth century. To this period, says Hayden ("Chats on Old Furniture," 
p. 63, ed. 1909), belongs the superb wood-work of the famous choir stalls of 
Henry VII's Chapel in Westminster Abbey. The same author (p. 60) repro- 
duces a bench of oak, French, about 1500, with locker coffer seat, in panels of 
linen-fold for sole decoration; and a French carved oak coffer of the second 
half of the sixteenth century decorated in interlaced strap-work and rosette 
in the style of our chest No. 3 and the other numbers of that group in the 
Mcllhermy collection define the period as that accorded to the latter. 

The early Tudor mansions retain the formal pattern of mouldings, with 
panelings of linen-fold which survived from the fifteenth century. These are 
superseded by the strap-work of the Elizabethan period as appears in the 
French carved walnut door showing ribbon work now in the Victoria and 
Albert Museum. This dates from the latter part of the sixteenth century and 
is decorated with guilloche and interlaced strap or ribbon work. 

The Mcllhenny collection is a most interesting one and its details afford 
students of Gothic industrial art much food for study. It is said to have been 
purchased in Brittany. 

If, broadly speaking, the history of furniture may be said to be that of 
civilization, the history of the chest may be said to be the history of furniture. 
While it belongs to every epoch and plays a part in the equipment of the ancient 
civilizations, the period of its highest dominance was the middle ages. The old 
Roman name of ' ' area ' ' survived in Western Europe in one of the names used 
to designate the chest — English "ark;" French, "arche;" but the chest also 
went in France by the name of "bahut," "met" and "huche" — English 
"hutch" — and the latter name served to designate the artisans cabinet-makers 
who carved and built these chests as "butchers" (English) or "huchier" 
(French). Originally the "bahut" was a wicker coffer covered over with hide 
and used when traveling. It was distinguished from the "coffre" or chest 
proper, which being of strong wood was heavier. Their chests followed the 
lords everywhere through the continual displacements of feudal times. In 
these were carried bedding as well as clothes and other personal paraphernalia. 
And when at rest, they became seats or even beds. In time, when raised on 
four feet and left open in front, they became a dresser. The chest also formed 
the basis of the marriage chest and of the cabinet as well as of the sideboard 
and the wardrobe. With a canopy, it took its place in the seigneurial hall and 
the lord and lady of the manor there received their guests. Here also the lord 
dispensed justice and in the latter function, as part of the judicial equipment, 



Interlaced Strap and Rosette Design 
Elizabethan, 1558-1603 

Reed and Groove Design with Guilloche 
Seventeenth Century (1631). Northern France 


the bench to this day in the EngHsh language has survived, preserved in the 
feudal dignity of the early tribunal. 

Within the recesses of the coffer-bench — in French "banc," Italian "banco " 
— the money-changers kept their money And this custom, as well as the part 
played by the arche bench in early financial life, is to this day embodied in the 
bank, French "banque," Italian "banca" — hence the "banker," who from the 
money-lender and money-changer who kept his treasure in his "arche-banc," 
has become the ruling power of the world. (Havard. Diet, de I'Ameublement 
et de la Decoration. Articles, "Banc," "Bahut," "Coffre," "Huche," etc. 
See also Viollet-le-Duc. Diet, du Mobilier Frangais). 

The oldest specimens of chests extant, dating of the thirteenth century, 
are rough boxes. The joiners' work is poor and the decoration is formed of 
admirably wrought iron panels of rich spiral design. The surface of the wood 
is dissimulated beneath a covering of skin or of painted linen now destroyed. 
Churches in England, France and Germany still preserve these relics of 
ecclesiastical furniture. In the fourteenth century, in those countries carving 
replaced this iron plating. Carved figures of warriors and panelings are seen, 
of which ornate Gothic windows furnish the design. In time, with increased 
elaboration, armorial bearings appear. Very different are the Italian cassoni 
of the period in which are used gilt and gesso or other plaster combinations, and 
to adorn which the best painters are employed, although Italy produced also 
carved wooden chests. 

The close relations between Italy and France under Charles VIII intro- 
duced the style of the Italian Renaissance artists into western Europe, notably 
on the Loire, where Charles established skilled Italian artists. Also at Chateau 
Gaillon several skilled artists went to work carving delicate traceries of ara- 
besques that seemed copied from the marble tombs of Tuscany and Lombardy. 
The chests of that epoch in Normandy and Touraine are marvels of taste with 
their delicate efflorescences. 

In France, the heyday of the chest expired about the end of the sixteenth 
century with the development of furniture; but it survived in the provinces; 
and in England its reign was prolonged. 

S. Y. S. 


Tapestries are a fascinating form of art. Their large scale makes them 
easy to appreciate even from a little distance, and their story interest attracts 
many who care not at all for abstract pictures. Especially do they appeal,' 
on account of their extraordinarily beautiful texture, to lovers of Oriental 
rugs. So that the exhibition of tapestries to be held in the Pennsylvania 
Museum for two weeks beginning Monday, October 25th, will be an important 
feature of the artistic life of Philadelphia this autumn. There will be shown 
more than forty immense picture cloths, some owned in Philadelphia, the rest 


borrowed for the occasion from New York. All periods and all countries will 
be represented — Gothic, Renaissance, Baroque, Rococo and Classic, Flemish, 
French, Italian and Spanish, as well as ancient Coptic and Peruvian, and 
modem Chinese, Japanese, and American. 

A Gothic tapestry to be exhibited, subject, "Bathsheba at the Bath," is. 
ten feet eight inches high, by thirteen feet six inches wide, and compares favor- 
ably with the best in the famous Royal Spanish collection, acquired by the 
kings of Spain when Brussels, where the tapestry was woven, at the beginning 
of the sixteenth century, was under Spanish dominion. Indeed, of one piece 
in the Royal Spanish collection, this tapestry is an almost exact duplicate,, 
the principal difference being that the Spanish one has a Latin caption in the 
top border, telling the story. The caption reads as follows: 

Bersabee. corpus, lavit. 

Quam. ex. adverse, vidit. David. 

Pro. ilia. suos. destinavit. 
which means that David no sooner saw Bathsheba, than he was struck by her 
beauty and sent for her. 

This tapestry is an example of the extreme modesty with which Gothic 
tapestries treat episodes that from Renaissance or later looms wovdd emerge 
immodest. We all know how Giulio Romano or Frangois Boucher would have 
pictured "Bathsheba at the Bath." But here we see her daintily laving her 
fingers without a suggestion of nudity above the wrist, and not at all decollete, 
as compared with the evening costumes of ladies of today. 

The decorative details of the tapestry are unusuallj^ important, especially 
the Gothic architecture of the fountain, and of the pa\'ilion in the upper right 
corner of the tapestry, at the entrance of which stands King David, sceptre 
in hand, looking admiringly at Bathsheba. The fine linen towel carried by 
Bathsheba's maid has a macrame fringe and apparently a lace border. The 
costumes are exquisitely rich, and the border of the tapestry is a most delight- 
ful composition of leaves and fruit. In the general plan of the tapestry the 
influence of the Renaissance begins to appear in the opening up of the land- 
scape to the rear, but in weave and texture the tapestry is wholly and delight- 
fully Gothic, and one of the most perfect accomplishments of the Golden Age- 
of Tapestry. 

This is a prize that would make any museum a tapestry museum, and 
attract the attention of lovers of art to any city. There is also a "Bathsheba 
at the Bath" in the Brussels Museum, which came from the Somzee collection 
in 1901, woven from the same design, but greatly and gracefully extended on 
the right and on the left. In the Cluny Museum there is a set of ten David 
tapestries, one of which pictures Bathsheba at the Bath, all much higher and 
larger than that described above, and enriched wdth gold. 

Another tapestry to be shown, the Renaissance "Prophets and Kings," 
eleven feet eight by fifteen feet two, also pictures a Bible story. What this- 
story is, the Latin caption in the top border makes clear. It is verse 10 of 
chapter 22 of I Kings, and in the English version reads; "And Ahab the king 
of Israel, and Jehoshaphat the king of Judah, sat each on his throne, having 
put on their robes; and all the prophets prophesied before them." The two. 


crowned and sceptred kings are seated on the right of the tapestry, the identity 
of Ahab being marked by the letters ACHAP that appear on his right sleeve, 
while the letters lOSAPHAT appear on the border of Jehoshaphat's mantle, 
draping his left knee. The prophet in the foreground, whose left hand grasps a 
huge trident, is Zedekiah with the letters GEDKIA upon his hat, while just 
behind him stands Micaiah, with MUCH on the bottom border of his robe. 
In the center of the scene, between prophets and kings, but a little in the back- 
ground, with her name upon her gown, stands Ahab's beautiful wife, whose 
wickedness has made Jezebel a word to shudder at. 

Zedekiah and the rest of the four hundred prophets prophesied as Ahab 
wished. Micaiah opposed him and was sent to prison. But Micaiah's 
prophecy came true, and Ahab was killed in battle against the king of Syria. 
The city that backgrounds the scene is Samaria. 

This tapestry is one of a set of four from the famous Somzee collection 
that was sold in Brussels in 1901 . It was woven in Brussels in the third quarter 
of the sixteenth century, and has the Brussels mark, two B's on each side of a 
shield, woven into the bottom selvage. The weaver's monogram, that has 
suffered at the hands of time and of the repairer, was originally formed of the 
letters CR. 

These and the other tapestries to be shown at the coming exhibition, will 
be fully described, and many of them illustrated, in a special handbook and 
catalogue prepared for the purpose by Mr. George Leland Hunter, author of 
the standard work, "Tapestries, their Origin, History and Renaissance," who 
is organizing and arranging the exhibition for the Museum. 

The catalogue will be on sale at the Museum on and after October 25th, 
or may be obtained by applying to the Secretary of the Pennsylvania Museum, 
Memorial Hall, Fairmount Park, Philadelphia. Price 25 cents. 

During the course of the exhibition, Mr. Hunter will give free lecture 
promenades on tapestries, developing in a way easy to understand, their texture 
interest as well as their picture and story interest, to art and architectural 
societies and others. These lecture promenades will be by appointment only, 
and appointments can be made before October 25 th by mail or telephone to 
the Director of the Pennsylvania Museum, Memorial Hall, Fairmount Park, 


Among the recent purchases for the Museum are two Chinese glazed, 
ridge tiles, or finials, of the Ming Dynasty, measuring twelve and a half and 
thirteen and a half inches respectively. These make an interesting addition 
to the Museum's collection of tiles, which is quite extensive and varied. 

A Spanish water jar, or fountain, of the eighteenth century is an unusual 
example of old Granada maiolica, decorated with bold floral and bird designs; 



Glass Flasks ix Various Colors 
By Henry William Stiegel, 1765-1774 

Maiolica Jar, or Cistern 
Eighteenth Century. Granada, Spain 


in blue, and possessing four handles connected by rope-like festoons in green 

Two Chinese cameo-carved glass vases, of the Ch'ien-lung period, are 
valuable additions to the glass collection. One is decorated with relief designs 
in blue on a milk-white ground, while the second example is carved through a 
layer of red glass. These vases measure seven inches in height. 

To the Frishmuth Antiquarian Collection has been added a series of old 
nautical instruments, consisting of telescope, log, reflecting circle, quadrant 
sextant, compass, etc. 

There are probably no more important examples of old Rouen faience 
in this country than a pair of albarelli, or drug jars, lately acquired by the 
Museum. These jars measure over twelve inches in height, being larger than 
the usual pieces of this form. They are covered with a heavy coating of white 
tin enamel and beautified with bands of elaborately painted patterns in what 
are known as the "Lambrequins" and "Broderie" styles, that is to say ara- 
besque and conventional designs suggested by the embroidered hangings of the 
period. At first the designs of Rouen faience were painted in blue on the white 
ground, but later a peculiar red was introduced in addition, and at a still more 
recent period polychrome painting came into vogue. The decorati\-e patterns 
were painted on the unbaked enamel, a style of treatment which the French call 
peinture sur email cm, the result of which was that the colors were fused with 
the enamel, becoming incorporated with them, and presenting the appearance 
of underglaze painting. There cannot be such a thing as decoration under the 
glaze, however, when tin enamel is used, as the latter is entirely opaque and 
would entirely obscure anj-thing over which it should be applied. The inglaze 
treatment, therefore, most nearly approaches underglaze decoration. The 
later French tin enamel factories made wares which were ornamented over the 
glaze, that is to say painted on the fired enamel. The two albarelli, here shown, 
are painted in blue and red and are of the first half of the eighteenth century. 

In pottery the lustered faience of Spain, known as Hispano-Moresque ware, 
is considered to be the highest achievement of the potter's art, as Chinese 
porcelain is the acrne of the art in vitrified wares. The Museum has acquired a 
fine example of the former, which illustrates the best epoch of luster painting. 
It is a plaque, eighteen inches in diameter, and belongs to the sixteenth century. 
The decoration consists of embossed godroons diagonally disposed around the 
marly and painted in luster in two patterns, known as the wheel and the 
arabesque, arranged alternately. In the center is a raised boss which is orna- 
mented in hister with the figure of a wolf (?), surrounding which are bands of 
wheel and leaf patterns. The luster, obtained from gold, is remarkably brill- 
iant, of a yellowish brown, which changes, when viewed from different angles, 
to a beautiful golden, rose, lilac, blue and madreperla, with touches of green, 
surpassing in prismatic qualities the iridescence of a soap bubble. The white 
tin enamel and the luster reveal a Saracenic origin, but the painted pattern 
shows the influence of the Spanish potters, who, in the sixteenth century, were 
gradually drifting away from the Moorish methods and introducing a Spanish 
style. In the fourteenth century, the Hispano-Moresque ware was purely 
Moorish, while in the fifteenth the Arabic treatment was combined with Spanish 



Tin Enameled Albarelli 
Early Eighteenth Century. Rouen, France 


Sixteenth Century. Decorated in Luster 



elements in the introduction of mock -Arabic and Christian inscriptions, coats- 
of arms and other motives. Throughout the fifteenth and sixteenth centuries 
the quaHty of the luster had greatly improved, but the decadence commenced 
in the seventeenth, and in the following century the cangeant luster was super- 
seded by a coppery and tinselly luster and the tin enamel gave place to a 

Carved and Gilded Arm Chair 
Empire Period, French 

cheaper glaze, in which lead largely took the place of the more expensive tin. 
The plaque which the Museum has secured fills a gap in the series of Hispano- 
Moresque pieces and forms a connecting link between the examples of the 
fifteenth and seventeenth centuries. 

A pair of French chairs of carved and gilded wood have been secured for 


the Empire alcove of the furniture room. The backs and front frames of the 
seats are covered with relief ornamentation in different patterns. The fronts 
of the arms are modeled in the semblance of animals' heads and are extended 
to form legs which terminate in lions' paws, the intermediate parts being carved 
with acanthus-leaf and fluted bands. These chairs are good examples of the 
massive furniture of the early nineteenth century, which became popular in 
France after the Egyptian campaigns of Napoleon I. 

E. A. B. 


The death of Mr. John Thompson Morris, which occurred on August 15, 
1915, has removed from the Board of Trustees of the Pennsylvania Museum 
and School of Industrial Art one of its oldest and most active 
members. Mr. Morris became a trustee of the Institution 
in 1892 and served continuously until his death — a period of 
twenty-three years. From 1897 to 1904 he was one of the 
vice-presidents of the corporation, but it was as a member 
of the Museum Committee that he found his most congenial 
field in the work of the Institiition. He was always a liberal 
patron of the Museum and the School and his gifts exceed in 
importance and value those of any other individual. Pos- 
sessing rare judgment and gifted with unerring taste, he was 
largely instrumental in shaping the policy of the Museum, 
while his ad\'ice and approval were always sought by his associates on the 
Museum Committee in the selection and purchase of objects of art. 

Exhibition of Tiles. — Beginning October 4th, the collection of roofing, 
paving and wall tiles belonging to the Museum will be exhibited in the Rotunda 
until further notice. Man^^ of these tiles, now gathered together for the first 
time, have hitherto been scattered through the building in the exhibits of 
various countries and others have been stored away because of the lack of 
space to display them. The Museum's exhibit has been temporarily aug- 
mented (for October) by loans of rare examples from other collections. 

The exhibition includes characteristic examples from Babylonia, Egypt, 
Rome, Persia, India, China, Japan, Turkey, Spain, Mexico, Italy, Holland, 
England, Belgium, German}', Russia and the United States, covering a period 
beginning som.e centuries pre\'ious to the Christian Era, down to the end of the 

Of special importance is the series of maiolica tiles of the seventeenth and 
eighteenth centuries, made in Mexico under Spanish influence, being probably 
the largest and most representative collection of the kind in existence. The 
Saracenic and Persian tiles and architectural panels, dating from the thirteenth 
century and later, are also of surpassing interest, and among more modem 


productions the Spanish and Russian tile panels, which were first exhibited at 
the Centennial Exhibition in 1876, are noteworthy. 

An illustrated and descriptive catalogue has been printed, which may be 
purchased at the Museum, or will be mailed to any address on receipt of 20 
cents. Application should be made to the Secretary, Pennsylvania Museum, 
Memorial Hall, Fairmount Park, Philadelphia. 

School Notes. — The sessions of the School opened on September 20th, 
one week earlier than hitherto, which will permit the closing of the classes at 
the end of the year proportionately earlier, thus avoiding the extreme heat 
usually obtaining in June, and enabling many persons to attend the annual 
exhibit and commencement exercises, who lea^-e the city at the beginning of 
that month. 

During the summer Mr. Stratton, Mr. Ege, Mr. Sifinock, and Mr. Aadrade 
visited the expositions at San Francisco and San Diego, to study the educa- 
tional exhibits sent from the schools of the two Americas. The comparison 
was most favorable to the work of the pupils of this institution, which was 
shown to be particularly strong in design, interior decoration, modeling and 
the crafts. 

The new class in Printing and Typographical Design will open October 4th- 
This is the first class, organized in this city, devoted to the principles involved 
in producing excellence in printing, and its progress will be watched with 
interest. Mr. Otto Frederick Ege will be instructor in charge, and will have 
the advice and assistance of such practical men as Mr. Edward Stem and Mr. 
Maurice Weyl, of the Edward Stern Company, Mr. E. Lawrence Fell of the 
Franklin Printing Company and Mr. Byron W. Isfort of the Curtis Publishing 
Company. These men and others are encouraging apprentices, compositors 
and pressmen to attend this class, and in several instances giving financial 
assistance to them. 

The programme of the Evening Interior Decoration Class has been 
re-adjusted to meet the needs of furniture salesmen and decorators. One 
evening of each week will be devoted to the discussion of the principles of 
interior design, use of color, the evolution of period furniture, and the present 
day use of these periods. The other evenings will be devoted to the practice 
of designing interiors. The discussions will he illustrated by numerous photo- 
graphs taken during the past summer by Mr. Edward Warwick, who will have 
charge of the class. 

The class enrollment of the July Summer Session included representative 
teachers of drawing, and supervisors of Art from several states. The increased 
enrollment and the results obtained were most gratifying. 

It is hoped the effective work done by Miss Lea and her Committee in 
connection with the League House for the girl students of the School wi'l soon 
be supplemented by a similar organization for the young men. There is always 
diffiiculty in finding good boarding, and this year it has been particularly hard 
to secure proper accommodations. Ths League House stands as a beacon in 
a wide sea of waste places. 


Mr. John Sinnock, a member of the School faculty, is at present working 
on a series of sgraffito panels and three mural decorations for the new Rose- 
mont School. The subjects of the decorations deal with incidents in American 

The plans for a comprehensive poster and advertising display, proposed 
by Mr. Carol Aronovici last spriuiT have now taken definite form. It has been 
decided to hold the exhibition and lectures in the School the latter part of 
November. A local committee of representative men is now formulating the 
preliminary plans and expects to co-operate with a national committee that wiU 
be organized shortly. 

The two cases of potterj- in the Exhibition Room at the School, one con- 
taining salt glaze stoneware the other sgraffito pottery, have attracted no 
little attention among visitors and prospective students. The exhibit in 
Washington has been of interest to many who came later to see the School and 
inquire about the courses. The kiln containing the sgraffito pottery made by 
Leon Corson this summer is about to be closed up and fired. This work has 
been beautifully illustrated and described in a recent number of Good Furnitttre. 
A duplex porcelain pebble mill for grinding glazes has been purchased and is 
about to be installed. This is operated by an attached motor and will grind 
glazes in quantity without attention and at a very small cost per hour. A great 
number of color experiments have been made to be used in connection with the 
pottery made by Mr. Corson. These colors are unusual and interesting. 



July— September, 1915 





Metal work 




Horn Comb, Elaborately Carved 

Large Porcelain Vase, Imitation of Sevres 

Stoneware Urn, Wedgwood. English, 1886 

Porcelain Vase, French, c. 1830 

2 Albarelli, Faience, Rouen. France, c. 1740 

Maiolica Plaque, Valencia, Spain. Sixteenth Century. 

Carved Walnut Chair, Florentine 

Collection of 9 Gothic Chest Fronts. English. Six- 
teenth and Seventeenth Centuries 

Spinning- Wheel, American, Early Nineteenth Cen- 

Wooden Clock with Brass Mounts, by John Taylor, 
London, England 

10 Pieces of Pewter, American, Early Nineteenth 

Landscape, by Carl Milner 

Pie-Server, Sheffield Plate, English. Eighteenth Cen- 

2 Coats and 3 Waistcoats, French. Louis XVI Style. . 
8 Dolls . 

Lent by Mrs. Milne Ramsey. 

Bequest of Mr. Francis T. S. Darley. 
Given by Mrs. Frederick T. Mason. 
By Purchase. 

Bequest of Mr. Francis T. S. Darley. 
Lent by Mr. John D. Mcllhenny, 

' Given by Mrs. Frederick T. Mason. 

By Purchase. 

Lent by the Commissioners of Fair- 
mount Park. 

Lent by Mrs. Edwin A. Barber. 

Lent by Mrs. Milne Ramsey. 
Lent by Miss Mary E. Sinnott. 


The Trustees of the Pennsylvania Museum 
and School of Industrial Art desire the 
active co-operation of all public-spirited 
citizens who are known to be in sympathy 
with its educational work. All such persons 
are invited to become members. 


Patron Members in Perpetuity — Those 
who contribute the sum of $5000 or more 
whether in money or objects for the Museum. 

Fellowship Members in Perpetuity — Those 
who contribute $1000 at one time. 

Life Members — Those who contribute the 
sum of $100 or more at one time. 

Annual Members — Those who contribute 
not less than SlO yearly. 

The contributions received from Patrons 
($5000), and from Life Members ($100), are 
added to the permanent Endowment Fund. 
Contributions from Annual Members ($10) 
are used to the best advantage in the de- 
velopment of the Museum and the School. 


All members are entitled to the following 

The right to vote and transact business 
at the Annual Meeting. 

Invitations to all general receptions and 
exhibitions held at the Museum and the 

Free access to the Museum and School 
Libraries and admission to all lectures. 

Also a copy of each of the following pub- 

The Annual Report of the Corporation. 

The Annual Circulars of the School of 
Applied Art and the Philadelpliia Textile 

The Art Handbooks and Art Primers, 
issued from time to time by the Museum 
(a printed list of pubhcations will be mailed 
to any member on application). 

The Illustrated Quarterly Bulletin of the 

A hst of members is published each year 
in the Annual Report. 

AppUcations for membersliip, and remit- 
tances should be sent to the Secretary, 
P. M. & S. I. A., Memorial Hall, Fairmount 
Park, Philadelphia, Pa. 


The Museum is open, free to the public, 
every day in the year. 
Opening Hours: 
Mondays at 1 2 M. 
Other Week Days at 9.30 A. M. 
Sundays at 1 P. M. 
Closing Hours: 

During the summer months, 5 P. M. 

(Sundays, 6 P. M.) 
During the winter months, a half hour 
before sunset. 


(On sale at the South Entrance) 

Handbook of the Museum $0. 25 

A Brief History of the Bayeux Tapestry . lO" 
Cork Models of Windsor Castle, Tower 
of London, Westminster Abbey, 

Church of St. Peter, Rome 10- 

The Great Seals of England 25 

Handbook of the Collection of Tulip 
Ware of the Pennsylvania-German 

Paper cover 1.00- 

Large paper edition. Cloth 5 .00- 

Handbook of the Maiohca of Mexico: 

Paper cover 1 . 00- 

Flexible Art Canvas 2 . 00' 

Art Primer No. 3, Lead Glazed Pottery .50' 
Art Primer No. 5, Tin Enameled Pot- 
tery 50 

Art Primer No. 6, Salt Glazed Stone- 
ware 50- 

Art Primer No. 9, Hard Paste Porce- 
lain 50- 

Art Primer No. 11, Artificial Soft Paste 

Porcelain 50' 

Bulletin of the Pennsylvania Museum 

(quarterly), per annum 1 . 00' 

Friends of the Institution who desire 
to devise to it money should use the fol- 
lowing : 

Form of Bequest 

I give and bequeath unto the Pennsyl- 
vania Museum and School of Industrial Art 

the sum of dollars 

for the use of the said Corporation. 


Form of Devise of Real Estate 

I give and devise unto the Peimsylvania. 
Museum and School of Industrial Art, its- 
successors and assigns, all that certain (here 
insert a description of the property) for the 
use of the said Corporation. 







John Story Jbnks, Chairman Edgar V. Seblkr 

Thomas Skblton Hahwson Mrs. W. T. Carter 

ToHN H. McFadden Mrs. W. D. FRisHMnra 


[OHN W. Pepper Miss Pannib S. Macbb 

Miss Elizabstb C. Roberts 
Mrs. Rudolph Blankbnburg, Ex-OJSHcio 

Edwin AtLee Barber, Director of the Museum 

Mrs. Cornelius Stevenson, Assistant Curator and Lecturer 


Textiles, Lace and Embroidery , Mrs. John Harrisom 

Onental Pottery Mas. Jones Wistor 

European Porcelam Rbv. Alfred Duanb Pmx 

^s and Amor. ■■■■.■■ Corneuus Stevenson 

Furmture and Woodwork Gustav Ketterer 

Musical Instruments Mrs. W. D. Frishmotb 

Numismatics F. D. Langenheim 

Sculpture, Marbles and Casts .".".' .*.flj,EXANDER Stirling Caudw 

rasTBvcnon comuittsb 

Theodore C. Search, Chairman Mrs. F. K. Hippib 

Charles Bond Miss Nina Lea 

Mrs. John Harrison Mrs. Arthur V. Meigs 

Thomas Skelton Harrison Mrs. Thomas Roberts 

John Story Jenks Mrs. Joseph F. Sinnott 

John D. McIlhenny Mrs. C. Shillard Smith 

Edgar V. Seelkr Mrs. John Wister 

James F. Sullivan Mrs. Jones Wistbe 
William Wood 

Mrs. Rudolph Blanebnburc, Ex-Officio 



Mrs. Rudolpb Blaneenburg 
Krrt Wee-Pre»iaenl Bttoat Vlc»«tMM«M 

Miss Nina Lba Mrs. C Leland Hahbisok 

8«crotftf3r Tnuarar 

Mrs. Henry S. Grove Mrs. Joseph F. Sunjorr 

Mrs. Edwin Swift Balch Mrs. John Harrison Mrs. Charlbs Platt, 3d 

Mrs, Jasper Yeates Beinton Miss M. S. Hinchman Mrs. Thomas Roberts 

Mrs. John H. Bhinton Mrs. P. K. Hipple Miss Mary E. Sinnoti 

Mrs. William T. Carter Mrs. Harold W. How Mrs. C. Shillard Smitb 

Miss Margaret Clyde Mrs. J. L. Kbtterlinus Mrs. Cornelius Stevenson 

Miss Ada M. Crozer Mrs. George G. M. Large Mrs. Edward T. Stotbsbcb'i 

Mrs. David E. Dallam Mrs. Robert R. Logan Mrs. Wej-iam H. Walbavm 

Countess Santa Eulalu Mrs. Howard Longstrbth Mrs. A. B. Wbimbs 

Miss Cornelia L. Ewing Mrs. Arthur V. Meigs Mrs. John Wister 
Mrs. George Harrison FrazierMrs. Jambs Mifflin Mrs. Jonbs Wistbb 

Mrs. W. D. Frishmuth Mrs. Pranos F. Mn.NB 

Mrs. W. W. Gibbs Mrs. Thornton Oakley 

borokast mbmbbrs 
Mrs. M. Hampton Todd Miss Pannib S. Magbb Miss Eluabetb C. Robbbw